In recent sculptures, pieces of surplus marble inhabit both a physical and psychological space. Stephens often places rocks within a modern, architectonic, stainless steel pedestal creating an admiration for the entity itself. The physical making process is clearly visible forming a bond between the natural and the constructed. The metamorphic rocks appear strong but equally there is a sense of fragility as the viewer witnesses the elevation of an exquisite object formerly lying on the quarry floor. Striated and pitted with calcite crystals, the opposing geological textures take naturally to each other as they are forced to adopt a new habitat.
Rocks and minerals have their own story, but the abundance of any object can be a source of invisibility. The artist's intention is to celebrate artefacts in a considered way and to generate a new perspective about time. Using sculpture as a platform, nature is brought into sharp focus bringing our attention to the landscape and the importance of these terrestrial earthly wonders.
Working in unison with her sculptures, the artist creates black and white photographic works. The images for the artwork Lunigiana I-IX, were taken from the top of a quarry once used by the famous sculptor Michelangelo.
Located in the heart of Carrara in Italy, the repeated photographs overlook the mountain below. In the distance, a small fire has taken hold in the forest below creating a slightly obscured background. The diamond shaped coloured forms refer to the molecular structure of calcium carbonate that make up this striking metamorphic rock. The images ask the viewer to be attentive to the minute details at work beneath the surface and to be aware of our place within the world.
